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    Kinsale Shark Award Winners Unveiled; A Dozen Film Golds Bestowed

    By SHOOTUpdated:No Comments2917 Views
    A scene from Sandy Hook Promise's "Evan" directed by Henry-Alex Rubin of Smuggler for BBDO New York
    KINSALE, Ireland --

    The top winner in the Print/Outdoor/Ambient/Digital category had a grand time at the Kinsale Shark Awards ceremony on Saturday (9/23) as Tourism Ireland’s “Game of Thrones Tapestry” out of Publicis Ireland came away with the competition’s coveted Grand Prix honor.

    Meanwhile there were 12 Golds bestowed in Film with Droga5 London scoring for Rustlers’ “80 Years of Torment,” and three Kwiff spots–”Father and Son,” “Caught Glass” and “Bedlam.” Collectively the Kwiff ads won an additional Gold in the International TV, Cinema, Online Campaign category.

    Also coming away with Film Gold were, among others, Wieden+Kennedy for Old Spice’s “Smell ‘Em Who’s Boss: Innocent,” The Martin Agency for Donate Life’s “The World’s Biggest A-Hole” PSA; and BBDO NY for Mars Chocolate North America/Snickers’ “Recovery Room” as well as a pair of wins for Sandy Hook Promise’s “Evan.”

    In Kinsale’s Film Craft derby, highlights included: BBDO NY copping Gold for Snickers’ “Recovery Room” (Direction for David Shane of O Positive, and Humor categories) and AT&T’s “The Unseen” (Direction for Frederic Planchon of Anonymous Content, and Editing) while AMVBBDO London garnered Gold (in the Design & Animation category) for Sainsbury’s “The Greatest Gift.” 

    The Martin Agency’s Donate Life PSA “The World’s Biggest A-Hole” won Film Craft Gold (Direction for Speck and Gordon of Furlined), as did Waitrose’s “Coming Home” (Best Use of Postproduction/VFX) from adam&eveDDB, London.

    For a full rundown of winners, click here.

     

    Category:News
    Tags:Kinsale Shark Awards



    Raoul Peck Resurrects A Once-Forgotten Anti-Apartheid Photographer In “Ernest Cole: Lost and Found”

    Friday, November 22, 2024

    When the photographer Ernest Cole died in 1990 at the age of 49 from pancreatic cancer at a Manhattan hospital, his death was little noted.

    Cole, one of the most important chroniclers of apartheid-era South Africa, was by then mostly forgotten and penniless. Banned by his native country after the publication of his pioneering photography book "House of Bondage," Cole had emigrated in 1966 to the United States. But his life in exile gradually disintegrated into intermittent homelessness. A six-paragraph obituary in The New York Times ran alongside a list of death notices.

    But Cole receives a vibrant and stirring resurrection in Raoul Peck's new film "Ernest Cole: Lost and Found," narrated in Cole's own words and voiced by LaKeith Stanfield. The film, which opens in theaters Friday, is laced throughout with Cole's photographs, many of them not before seen publicly.

    As he did in his Oscar-nominated James Baldwin documentary "I Am Not Your Negro," the Haitian-born Peck shares screenwriting credit with his subject. "Ernest Cole: Lost and Found" is drawn from Cole's own writings. In words and images, Peck brings the tragic story of Cole to vivid life, reopening the lens through which Cole so perceptively saw injustice and humanity.

    "Film is a political tool for me," Peck said in a recent interview over lunch in Manhattan. "My job is to go to the widest audience possible and try to give them something to help them understand where they are, what they are doing, what role they are playing. It's about my fight today. I don't care about the past."

    "Ernest Cole: Lost and Found" is a movie layered with meaning that goes beyond Cole's work. It asks questions not just about the societies Cole documented but of how he was treated as an artist,... Read More

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